First published in 1987. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 1987. This is a book about the music of the Caribbean - from calypso and ska through to Reggae and Caribbean club culture.

Networks of Design maps a new methodological territory in design studies, conceived as a field of interdisciplinary inquiry and practice informed by a range of responses to actor network theory. It brings together a rich body of current work by researchers in the social sciences, technology, material culture, cultural geography, information technology, and systems design, and design theory and history. This collection will be invaluable to students and researchers in many areas of design studies and to design practitioners receptive to new and challenging notions of what constitutes the design process. Over ninety essays are thematically organised to address five aspects of the expanded notions of mediation, agency, and collaboration posited by network theory: Ideas, Things, Technology, Texts, and People. The collection also includes an important new essay on rethinking the concept of design by Bruno Latour, one of the most influential figures in the philosophy and sociology of science and technology and a pioneer of actor network theory, and essays deriving from forum discussions involving designers and designer-makers responsive to actor network theory. Rather than an anthology of previously-published essays, Networks of Design presents work in progress on design theory and its applications. It is the outcome of a live and vigorous debate on the possibilities and actualities offered by actor network led conceptualisations of the relationships and processes constituting design. All the essays, many collaborative, derive from papers presented at the international conference of the Design History Society held at University College Falmouth, UK in the Autumn of 2008.

Sonic Interventions makes a compelling case for the importance of sound in theorizing literature, subjectivity and culture. Sound is usually understood as our second sense and – as our belief in a visually dominated culture prevails – remains of secondary interest. Western cultures are considered to be predominantly visual, while other societies are thought to place more importance on the acoustic dimension. This volume questions these assumptions by examining how sound differs from, and acts in relationship to, the visual. It moves beyond theoretical dichotomies (between the visual and the sonic, the oral and literature) and, instead, investigates sonic interventions in their often multi-faceted forms. The case studies deal with political appropriations of music and sounds, they explore the poetic use of the sonic in novels and plays, they develop theoretical concepts out of sonic phenomena, and pertain to identity formation and the practice of mixing in hip hop, opera and dancehall sessions. Ultimately, the book brings to the fore what roles sound may play for the formation of gendered identity, for the stabilization or questioning of race as a social category, and the conception of place. Their intricate interventions beckon critical attention and offer rich material for cultural analysis.

Once you start to play with this clever mix-and-match book, you won't be able to stop. By flipping the cut pages, readers can create more than 13,000 quirky characters, each accompanied by its own silly verbal description. So many combinations, so little time

Is contemporary Black British gospel music a coloniality? What theological message is really conveyed in these songs? In this book, Robert Beckford shows how the Black British contemporary gospel music tradition is in crisis because its songs continue to be informed by colonial Christian ideas about God. Beckford explores the failure of both African and African Caribbean heritage Churches to Decolonise their faith, especially the doctrine of God, biblical interpretation and Black ontology. This predicament has left song leaders, musicians and songwriters with a reservoir of ideas that aim to disavow engagement with the social-historical world, black Biblical interpretation and the necessity of loving blackness. This book is decolonisation through praxis. Reflecting on the conceptual social justice album 'The Jamaican Bible Remix' (2017) as a communicative resource, Beckford shows how to develop production tools to inscribe decolonial theological thought onto Black British music(s). The outcome of this process is the creation of a decolonial contemporary gospel music genre. The impact of the album is demonstrated through case studies in national and international contexts.